The Process, Things to Consider, Other Info

Ok, you've decided you want to make some Giclee prints, what is the process?

The process is fairly simple. I will first make a digital photograph of your painting at my studio. Then I make a sample print or "proof" for your approval. Then I'll make final Giclee prints on Artist paper or Canvas.

Click here for Digital Capture and Proofing prices

Click here for Prices for Prints on Artist Papers

Click here for Canvas Printing Prices

Sounds pretty simple right? It is. In order to make things easy please think about the following:

What is your original? Can it be reproduced?

I can reproduce works on paper, canvas, wood panels or other materials. Works with three-dimensional details are a specialty of mine. I can digitally capture very small or extremely large works and create enormous digital captures of those works. Diptychs and triptychs can be photographed.

If you are a digital artist, call and I'll help you figure out the best file type and size you'll need for printing. Since digital capture isn't involved, I charge for my time making test proofs together with you.

If your original art is not available but you have professional digital captures, 4x5 transparencies, or professional quality slides or prints, please call to discuss. I can often work with files, film or prints created by other professionals, but I can only match what has been captured, and the quality of the reproduction will depend entirely on the the quality of the source provided to me.

Unfortunately, unless you are a professional, it is highly unlikely that you'll be able to shoot and produce a digital file of your artwork that I can use for reproduction purposes, since the files I need are typically ten to twenty times larger than those produced by even the very best consumer camera. Lighting is often also a major problem. If this is all you have, please call to discuss.

I'm able to get the results I want because every aspect of my process - from lighting, to photography, to proofing and printing, is highly controlled, and my cameras, monitors and printer are carefully calibrated. It is always best to let me capture your original art if you want the best possible reproduction.

If your work is too large to transport or is located in another part of the country, you might want to consider removing it from its stretcher bars, rolling it, and shipping it to me in a mailing tube. Call to discuss.

If your work can not be moved, please call to discuss the possibility of having me come to your location to photograph your work. I'll go over the details when you call. This may be appropriate for a gallery or museum, or if you have a private collection, or you don't wish to transport or remove a painting from your home or studio. If you are concerned about theft, I do have a security system and my studio is located in a secure building. If your work is valuable, you will need to get a rider on your insurance policy to cover the time the work is at the studio and in transit. Please contact me if you have questions about this.

Finally, I am serious about copyright protection. Written permission is required before I will even consider reproducing a work of art painted by someone else.

What is the largest reproduction you will ever want of your work? Border size? Quantity? Run Type?

I can photograph works of practically any size, but the size of the largest final reproduction determines the size of the capture photograph I will make. Don't order a small size capture if you are certain you'll want a much larger print in the future, I'll have to charge you again for another capture.

How many prints will you want? The cost per print goes down the more you order. If you need larger quantities than those listed please ask. The beauty of Giclee printing is that you don't need to order hundreds of prints at a time although the price drops significantly if you do.

What size border do you want? My paper print prices are based on the outside dimension including the border. I automatically include a border on canvas prints for stretching purposes.

Are these to be a limited edition run, or an open end run?

Paper or Canvas?

Prints on stretched canvas look great. And many times you'll be hard pressed to tell a reproduction on canvas from an original work of art. These prints are given a roll-on, archival coating that significantly extends their life, and brings out the the full range of color and tone found in the original painting. I can coat your canvas prints with a glossy, luster or matte finish. If you're not sure what you want I can show you samples when you come to the studio.

Prints on watercolor paper are obviously the right choice if watercolor is your medium. I have a wonderful 100% rag watercolor paper called Angelica that many of my clients really like. I also have a 100% rag paper call Smooth Fine Art by Crane that is ideal for pastels, and a smoother version by Crane that renders fine details a little bit better. I also use premium papers and canvas by Breathing Color which are outstanding. When you come to the studio I can show you samples of canvas and paper that I have available as well as sample books of many other fine papers or canvas I can get for you if you want something specific.

Lighting, Gloss, Texture?

What kind of lighting makes your work look the best? Do your paintings look best under gallery lights, bright daylight, or soft diffused skylight? What are your thoughts about reflections? Do you want me to totally eliminate surface reflections or show them slightly to give your paintings a little more sparkle? What about brush strokes? Are they important or not?

Since I have been photographing paintings for artists long before I got into the Giclée art reproduction business, I know what is possible and I don't use a simple, cookie-cutter approach like many Giclée studios. One type of lighting simply doesn't work for everything- there will always be an ideal that I strive for. Your job before coming to my studio is to figure out what kind of light works best for your art, and I'll do my best to recreate that lighting at my studio for you.

Preparation Suggestions for your Art.

If your paintings are framed, please remove them from the frames if that is easy to do. If you can't, I can have my framer do so for you and reframe your work when I'm finished. They can also frame your reproductions if you like.

Frames can cast shadows that may fall on your artwork and I may need to crop your images to eliminate these shadows. I can shoot through glass and eliminate reflections with various techniques, but the quality of your final images will almost always be compromise. This is why it is important to remove frames and glass from your work before having it reproduced.

I have an easel for shooting works on masonite if you don't have hangers.

Bringing your work to the studio.

Directions to my studio are under the Directions/Contact section of this site. Please download my directions and print them out - don't Google me and use those directions! I've tested my directions and you won't get lost! Those clients who use Google directions often get lost!

I am located on the second floor of a long two-story brick building that has a freight elevator. The left end is occupied by Marty's Furniture Company. I'm at the the other end of this building, to the far right when you are facing it. You'll see a set of stairs at the end with parking spaces. Please call when you arrive and I'll come down and help you unload your work and either carry it upstairs or load it into the freight elevator.

How long will it take?

Digital capture and proofing usually takes a week. Printing takes another week. These times may be longer or shorter depending on how much work I have at the studio.

What is involved in the capture and proofing process?

After you bring your work to my studio I will digitally photograph it with the lighting you like the best. I'll create a file big enough for the largest reproduction you will want. For the technically minded, I create a 16-bit, 360-dpi file to the size of the reproduction you want. These files are often between half a gigabyte to two gigabytes in size. The resolution is stunning.

After I create the digital image of your painting, I make an initial test proof and then a series of adjusted test prints over the course of a week that are evaluated for color accuracy, contrast, saturation, brightness, sharpness and other factors. Although it may appear there is a perfect match in a proof early on, I always find that during the course of the week that subtle improvements can usually be made and I do so.

The test prints or proofs are evaluated in a special proofing room I had built in my new (2009) studio. This room has special broad spectrum proofing lighting that is extremely accurate and standard for color professionals. There is a table and easel for the paintings, and a metal wall behind where the proofs are hung using magnets. I have two large, extremely accurate color monitors that I use for evaluation of the digital images I've created. One monitor is placed right next to the proofs and the original painting to allow for easy comparison. Everything is carefully calibrated and regularly monitored for accuracy with spectrometers. Because of many investments in measuring tools and specialized software I keep raising the bar regarding the accuracy of my captures, proofs and prints, but it still takes the human eye and mind to tell when there is a perfect match, despite what a machine may say, and that is what I constantly strive for. I don't want to waste my or your time by having additional proofs made, (though I am always happy to do so if there is a need) so I make a supreme effort to get a perfect proof the first time round.

At the end of the week I'll ask you to come in to evaluate this proof, to make sure you are completely happy with it before I start making prints. If you are, I'll ask you to sign off on the proof and the next step is printing. If not, I'll make changes on my own or with you present on the proof evaluation day. Any changes will most likely be very minimal, if at all. Please understand however, that there are limits to any process.

Print Pickup

I'll call you or e-mail and let you know when your prints are ready. Prints come in archival, clear sleeves. If you have a portfolio, please bring one.

Other Info

My new studio has central air-conditioning, a security system, 25 foot ceilings, hardwood floors, and two giant windows. It is in very secure area and there is free parking. It is just a ten minute walk from the Oak Grove MBTA train station. There are many good restaurants nearby.

I work in collaboration with a frame shop here in town, and I have several excellent graphic designers that are available for complex projects like art books and gallery guides.

My designer is working on new Authenticity Certificates that will have the number in the edition, the title of the piece and so on. These should be available soon.

All work I do is unconditionally guaranteed. I want you to be completely happy so you'll tell your friends and keep coming back for more.

If you have further questions, please call! Thanks!